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In 2017, French researchers from the Institut National de la Recherche Agronomique (INRAE) were among the first to examine the effects of E171 nanoparticles on the body. They fed rats a dose of 10mg of E171 per kilogram of body weight per day, which was similar to human exposure in food. The research, which was published in Scientific Reports, showed that E171 was able to traverse the intestinal barrier, pass into the bloodstream, and reach other areas of the body in rats. Researchers also found a link between immune system disorders and the absorption of titanium dioxide nanoparticles. 

Cet article traite de la découverte de lithopone phosphorescent sur des dessins à l'aquarelle, datés entre 1890 et 1905, de l'artiste Américain John La Farge et de l'histoire du lithopone dans l'industrie des pigments à la fin du 19e et au début du 20e siècle. Malgré de nombreuses qualités souhaitables pour une utilisation en tant que blanc dans les aquarelles et les peintures à l'huile, le développement du lithopone comme pigment pour artistes a été compliqué de par sa tendance à noircir lorsqu'il est exposé au soleil. Sa disponibilité et son usage par les artistes demeurent incertains parce que les catalogues des marchands de couleurs n'étaient généralement pas explicites à indiquer si les pigments blancs contenaient du lithopone. De plus, lors d'un examen visuel, le lithopone peut être confondu avec le blanc de plomb et sa phosphorescence de courte durée peut facilement être ignorée par l'observateur non averti. À ce jour, le lithopone phosphorescent a seulement été documenté sur une autre œuvre: une aquarelle de Van Gogh. En plus de l'histoire de la fabrication du lithopone, cet article décrit le mécanisme de sa phosphorescence et son identification à l'aide de la spectroscopie Raman et de la spectrofluorimétrie. En este artículo se discute el descubrimiento del litopón fosforescente en dibujos a la acuarela por el artista americano John La Farge, fechados de 1890 a 1905, y la historia del litopón en la industria de los pigmentos a finales del Siglo XIX y principios del Siglo XX. A pesar de tener muchas cualidades deseables para su uso en pintura para acuarela o pinturas al óleo blancas, el desarrollo del litopón como pigmento para artistas fue obstaculizado por su tendencia a oscurecerse con la luz solar. Su disponibilidad para los artistas y su adopción por ellos sigue siendo poco clara, ya que por lo general los catálogos comerciales de los coloristas no eran explícitos al describir si los pigmentos blancos contenían litopón. Además, el litopón se puede confundir con blanco de plomo durante el examen visual, y su fosforescencia de corta duración puede ser fácilmente pasada por alto por el observador desinformado. A la fecha, el litopón fosforescente ha sido documentado solamente en otra obra mas: una acuarela por Van Gogh. Además de la historia de la fabricación del litopón, el artículo detalla el mecanismo para su fosforescencia, y su identificación con la ayuda de espectroscopía de Raman, y de espectrofluorimetría. Este artigo discute a descoberta de litopônio fosforescente em desenhos de aquarela do artista americano John La Farge datados de entre 1890 e 1905 e a história do litopônio na indústria de pigmento no final do século XIX e início do século XX. Apesar de ter muitas qualidades desejáveis para o uso em aquarela branca ou tintas a óleo, o desenvolvimento do litopônio como um pigmento de artistas foi prejudicado por sua tendência a se escurecer na luz solar. Sua disponibilidade para e uso por parte de artistas ainda não está clara, uma vez que os catálogos comerciais dos vendedores de tintas geralmente não eram explícitos na descrição de pigmentos brancos como algo que contém litopônio. Além disso, o litopônio pode ser confundido com o branco de chumbo durante o exame visual e sua fosforescência de curta duração pode ser facilmente perdida pelo observador desinformado. O litopônio fosforescente foi documentado em apenas um outro trabalho até hoje: uma aquarela de Van Gogh. Além da história da manufatura do litopônio, o artigo detalha o mecanismo para a sua fosforescência e sua identificação auxiliada pela espectroscopia de Raman e espectrofluorimetria.

BaSO4+C→BaS+4CO

All samples (n = 6) were irradiated in a 96 well plate using an LED panel on top for 3 and 6 h before analysis. An identical set of samples were kept in the dark as controls. The temperature was checked and did not go over 37 °C. The intensity of light was also measured and was constant at 19,500.10 lux. (43.33 W in 0.2 m²), about 5 times less than actual solar light intensity on Earth's surface Therefore, these findings are indicative of even greater danger in real life.

2. Lithopone is widely used in the plastic industry.

Infrared analysis showed that the characteristics bands for the bare nanoparticles are still exhibited in the vitamins@P25TiO₂NPs spectra, such as a wide peak in 450–1028 cm⁻¹ related to the stretching vibration of Ti-O-Ti and other peaks in 1630 cm⁻¹ and 3400 cm⁻¹, which represent the surface OH groups stretching. The IR spectrum of vitaminB2@P25TiO₂NPs showed signs of binding between compounds. The OH bending peak (1634 cm⁻¹) corresponding to bare nanoparticles disappeared, and the NH₂ bending band characteristic of vitamin B2 appeared (1650 cm⁻¹). The IR spectrum of vitaminC@P25TiO₂NPs also showed signs of successful functionalization. Bands at 1075 cm⁻¹; 1120 cm⁻¹; 1141 cm⁻¹ were observed, which are originated by CO-C vibrations present in the vitamin C. The intense band at 1672 cm⁻¹ is attributed to the C = O stretching in the lactone ring while the peak at 1026 cm⁻¹ is ascribed to the stretching vibration Ti-O-C. Wide bands at 3880–3600 cm⁻¹ are related to stretching vibration OH groups, but those disappear in the modified nanoparticles spectrum. These observations confirm the interactions between the P25TiO₂NPs and the vitamins [35].